List 14:       


Best viewed on a desktop
browser (Vannevar Bush).
This list features highlights from our booth at the Ephemera Society's annual conference and fair, for which we relied on the medico-pathological etymology dug-up by Alan Clinton (1981); ephemera as "those fevers which are temporary." Much moreso than editions, with their long durations of production: ephemera as the products of fevers and their states; the most intense of inscriptions. And, in retrospect, ephemera as hosts for those fevers' rememberings; because the Cloud often forgets the worthwhile.  
TERMS. Purchases are guaranteed to be catalogued, shipped, and delivered to the collector's satisfaction; returns accepted within 10 days of receipt. Reciprocal terms are extended to the trade; institutional policies are accommodated. Prices are issued in USD; sold items will be marked as such regularly, or upon request. Shipping is charged at cost. Various forms of payment are accepted. Phone / text (416-729-7043) or email ( for acquisition inquiries; priority is given to first interest. Subscribe to be added to our mailing list, in order to receive advance copies of future lists.  
NEXT. For collectors in the Greater Toronto Area, we'll be exhibiting at the Spring edition of the Old Book and Paper Show at the sunny Wychwood Barns (Sunday, March 25, 10-4).
PENFIELD, Edward;  TWAIN, Mark
Joan of Arc, by the most popular magazine writer begins in April Harper's.  
[New York]: [Harper & Brothers Publishers], 1895.


Lithographic poster (45 x 32 cm); preserved in period frame. With Penfield's name to lower right margin.
First published serially in Harper's magazine, starting in April 1895, Personal recollections of Joan of Arc would prove to be the last novel published during the life of Mark Twain. In its serial form, Twain asked for this heroic work to receive a pseudonymous attribution, being concerned that the public wouldn't take seriously his use of an earnest pen. Penfield, who would soon become one of the great masters of American poster art, took this design challenge to heart, capturing the work's hagiographic tone, while nonetheless assuring readers of its un-named writer's popularity.
Esposizione d'igiene... Napoli, Aprile-Ottobre, 1900.  
[Milan: G. Ricordi & Cie., 1914].

350 USD

A vivid lithograph (270 x 136 mm.), printed on well-coated stock, with wide margins and shimmering gilt. Crease to upper right margin and short edge-tear to bottom right; neither affecting print. Preserved in archival mat and placed in complementary gilt frame.
Originally choosing to develop in-house lithographic capacities in the 1870s—with the intention of rendering its sheet music business more profitable—the Milanese publishing firm of G. Ricordi would soon become the leading Italian poster designer, creating iconic campaigns for companies such as Campari and Corriere della Sera. Perhaps the most significant event in this development was the ascent of Russian-born, Austrian-raised Adolfo Hohenstein to Art Director at the firm; Hohenstein eventually being recognized as the master of the Italian form of Art Nouveau (Stile Liberty). Here we find Hohenstein producing an incredibly seductive, Eden-like design for the 1900 Hygiene Exposition in Naples, which measured in its original form an astounding 220 x 115 cm. Recognizing the ephemerality of its posters, Ricordi—in a manner not dissimilar to Jules Chéret, with his Maîtres d'affiches—produced a commemorative portfolio of 70 of its most significant poster designs from 1895 to 1914, in reduced size; a set which has itself become quite scarce, both as a whole and in its parts. For us: the current print is one of the most compelling from that portfolio, weaving lush symbolism with essential information.
END OF LOT 02   Contact for purchase inquiries.
I trucchi del cinematografo, circa 1908.

A complete set of 6  chromolithographic trade cards (70 x 110 mm.); this particular series focused on cinematographic special effects ("trucchi" translating as tricks). With detailed explanations of the tricks printed to versos, in Italian, along with brief advertisement for Liebig's Extract of Meat product, which is otherwise imaged in cartouche on rectos. Minor staining to verso of one card; the set is otherwise preserved in near fine condition.
One of the European firms that pioneered the production (and collection) of trade cards, Liebig's Extract of Meat Company took a decidedly intellectual approach to the genre; with the present series attempting to sate the public's curiosity about the special effects that were thrilling them on-screen. The cinematic "tricks" demystified here include a train derailment, a dream sequence, a car accident, and a floating siren. NB: we also have other Liebig series for sale concerning the diversity of railway systems, the history of illumination, and the history of flying machines.
PVLCHRA (firm)
[Group of 5 Catalan fans, promoting product placement techniques]. 
[Barcelona?], circa 1910.

500 USD

Five promotional hand fans, each with a single heart-shaped leaf (19 x 18 cm.) recessed and stapled into wooden dowels (19 cm.). Printed to rectos: illustrations of women in traditional costume (signed R. MIR), accompanied by lyrics to songs written by authors affiliated with the Catalan Renaixença. To versos: advertising pitch for "l'article per reclam" by the PVLCHRA firm. With ownership inscription to each verso (Adela Benitez Velano).
A fascinating example of self-conscious ephemera, with the PVLCHRA firm here preaching the significance of what would today be categorized as native or embedded advertising. "La millor propaganda: l'article per a reclam." Why? Because [via loose translation]: "being fused with something useful, your message will endure indefinitely." With a variety of possible products suggested—e.g. calendars, mirrors, ashtrays, invoices, parcels, and quite evidently fans—each of them being printed by the firm. PVLCHRA, i.e. the Latin term for beauty, was here  implicitly associating itself with the Catalan "Renaixença," with its muses not only cloaked in traditional Catalan costume, but also being flanked by lyrics from three of the great writers of that cultural/linguistic movement: Joan Maragall, Angel Guimerá, and Carles Grando.
END OF LOT 04   Contact for purchase inquiries.
[Group of marketing materials for the Haldeman-Julius Company]. 
Girard, Kansas, circa 1920-1929.


A dozen items, including 2 direct payment envelopes, for Life and letters and Haldeman-Julius weekly; a 4 pp. prospectus for Malchow's The sexual life; a prospectus for the second volume of Haldeman-Julius monthly, an order form for customized stationary, and the Catalogue of Little Blue Books for 1929, being 94 pages with illustrated wrappers that have separated from textblock.
As the force behind the Little Blue Books series, with total sales ultimately numbering in the hundreds of millions of copies, the publisher Emanuel Haldeman-Julius needed not only to forego sleep, but also to become a tireless advertising innovator. Included here is a sampling of the various paper instruments that he employed in the 1920s to encourage new and recurring subscribers for his publications, far in advance of the push affordances of digital marketing.
END OF LOT 05   Contact for purchase inquiries.
(JOBS, Steve);  SCOTT, Ridley (director);  THOMAS, Brent (art director)
Apple Computer: "1984" [commercial] :60 & :30 [spots]. Dub from Editel edit of 9/28/83.    Los Angeles: Chiat / Day inc. Advertising , 1983.

Betamax cassette (22 x 14 cm.), with printed label affixed to front; signed by Art Director Brent Thomas, who has also signed the spine of the cassette in white. Cassette preserved in original plastic case, with duplicate label to front sleeve, also signed by Thomas (rubbed). Contents have been transferred to digital files (.mov), for a total of 486.2 MB; preserved on accompanying USB drive. Both of the advertising spots lead with title cards with flashing "not for air" notices.

"I want to yell at that liberatory young woman with her sledgehammer: 'Don't do it!' Apple is not different. That industry is going to give rise to innumerable forms of triviality and misogyny, to the concentration of wealth and the dispersal of mental concentration. To suicidal, underpaid Chinese factory workers whose reality must be like that of the shuffling workers in that commercial. If you think a crowd of people staring at one screen is bad, wait until you have created a world in which billions of people stare at their own screens even while walking, driving, eating in the company of friends—all of them eternally elsewhere."
Rebecca Solnit, Poison apples (2014) via @antifurniture.
If we have not yet set the parameters for the object-genre of "digital relics," the present offering might very well stake a claim. Although Betamax tapes certainly qualify as a class of dead media, the present tape carries with it an aura of eerie truth: Apple Computer's 1984 commercial that aired during Super Bowl XVIII—i.e. the commercial most often credited as the most influential of all-time and one that introduced the world to the present future of multi-screen computing; that commercial almost never aired. While fine cuts of two iterations of the commercial—almost certainly being the ones represented here, as dubbed by the post-production studio Editel on September 28, 1983—were shown by Steve Jobs to a conference of enthusiastic Apple sales representative in Honolulu in early October, the Apple Board of Directors would ultimately be abhorred by what they saw in December, only a few weeks before the January 22 Super Bowl airing; i.e. only 2 days before the now-epochal release of the Macintosh. The Board directed Jobs to kill the ad. In response, Jobs would concoct a devious plan with the Chiat/Day advertising firm that was responsible for the production: they would sell-off the 0:30 spot, but inform the Board that it was simply too late to cancel the expensive 60 seconds of Super Bowl airtime. The Board eventually relented, presuming that the longer-form of the commercial would air only once, and soon be forgotten. (It would, after all, only be ephemeral). Instead, the commercial would go on to win the 1984 Grand Prix at the Cannes International Advertising Film Festival and, in 1995, would be added to the Hall of Fame of the Clio Awards, in the same year that Ad Age named it "the best commercial ever made."
The present Editel dub (now accompanied by USB digital transfer) is thrice-signed by the Chiat/Day creative Brent Thomas. While the success of the commercial is most often credited to its Blade Runner director, Ridley Scott, Thomas was instrumental in realizing not only the commercial's aesthetic (as its Art Director), but also its thematic core—having recycled, along with his Chiat/Day colleague Steve Hayden, the unused tagline "And you'll see why 1984 won't be  like 1984." Included on this tape is the rarely seen 0:30 cut of the commercial; although, even with the 0:60 cut, there are certain interesting variants to be studied—including repetitive returns to close-ups of the pseudo-IBM "Big Blue" screen, with its cryptic informatics; a shot which only appears once in the final televised version, with the other close-ups having been replaced by over-the-shoulder long-shots of the uniform workers, transfixed before the Screen.
MARINETTI, Filippo Tomasi
[Postcard written to a Futurist colleague, during his WWI convalescence]. 
Milan, 1917.

Plain Italian postcard (9 x 14 cm.), printed only to recto; post-dated June 22, 1917 and addressed to De Naris of Forli. With six lines of text to otherwise blank verso, concluding with Marinetti's bold signature.
Wounded amidst heavy bombardments in mid-May, 1917, as one of the absurd "bicycle soldiers" fighting Austrians in the Alps, Marinetti would take leave to convalesce until September, resting in Udine until June 10. On the 22nd of that same month, we here find Marinetti back in Milan, writing ardently of his desire to return to the theatre of War. "Spero guarire bene e completamente per riprendere il massacro bombardiere." The recipient was almost certainly Luciano De Nardis, the pseudonym for the Futurist poet and painter Livio Carloni of Forli. An incredibly evocative snapshot of the Futurists' involvement in the Great War and the techno-social forces that spurred the modernist aesthetic.
MARINETTI, Filippo Tomasi;  SETTIMELLI, [Emilio];  CARLI, Mario
Che cos'è il Futurismo: nozioni elementari / L'azione dei Futuristi prima, durante, e dopo la Guerra. 
Milano: Direzione del Movimento Futurista (Stab. Tip. Taveggia, via Ospedale 3), [March, 1919].


Single leaf (29 cm.), printed both recto and verso. Some age-toning to paper, which is nonetheless stable. The first edition of this manifesto in its form as "volantini," with advertisement for the serial Roma futurista to verso. Tonini 124.4.
The manifesto (as form) was arguably the most influential contribution of Marinetti as an avant-garde publisher—issuing forth from his Milanese studio what Italian bibliographers now refer to as "volantini," under the auspices of the Direzione del Movimento Futurista. The majority of those manifestos were printed as bifolia; 4 pages in length. Which makes this condensed post-War contribution truly stand out. Answering the question "but what is Futurism?" in a scant two pages, Marinetti, Settimelli, and Mario Carli supply 20 short theses, relating to Life, Politics, and Art, along with a summary of the Movement's relationships to the Great War. With its density aimed to coil like a spring—the manifesto ends off with a pregnant invitation: "Those who desire further explanation will always find the Futurists happy to talk."
MARINETTI, Filippo Tomasi (editor);  Various others
Il teatro della sorpresa. [As it appears in the first number of]: Il Futurismo: rivista sintetica bimensile. 
Milano: Direzione del Movimento Futurista, 1922. First edition thus.

Bifolium (29 cm. tall), with minor toning to margins of first page. Contents: [4] pages. Tonini 168.1.
In the first issue of his new serial, the ever-deliberate Marinetti chose to focus on the theatrical, co-authoring a manifesto with Francesco Cangiullo, the artistic director of the "Compagnia del Teatro della Sorpresa;" one-and-a-half pages on the theatre of surprise, followed by a series of brief "sorprese teatrali" and "sintesi teatrali," variously attributed to Cangiullo, Marinetti, Calderone, and Settimelli. Marinetti had obviously been thinking about the aesthetics of surprise for some time, having issued a manifesto under the same title (albeit with different content) in the previous year. "Perciò diamo una importanza assoluta al valore di sorpresa."
END OF LOT 09   Contact for purchase inquiries.
[Legal dossier regarding the failed publication of Tzara's Le secret de François Villon]. 
Paris, 1959–1963.


Bifolium (27 cm.) publishing contract; partially-printed, accomplished and amended in typescript; signed by Tzara on fourth page ("lu et approuvé"), along with Bernard Privat (for the publishing firm Fasquelle). With an invoice secured to second page, dated December 14, 1959, acknowledging receipt of a cheque by Tzara, drawn on the Crédit Lyonnais, in the amount of 300,000 francs. The contract is accompanied by 2 related legal documents, the first being a single-paged typescript document ("sommation") addressed to the publisher Fasquelle and dated January 16, 1963; a single-page, stamped by Huissier de Justice Daniel Lacker of Paris' 1er arrondissement, with signatures and stamps to verso. The second document, in response, being: a single-paged typescript letter (undated), signed by Jean-Claude Fasquelle on his publishing company's letterhead, and addressed to Tzara's lawyers. These documents are also accompanied by three related newspaper clippings, all three dating from December 1959. All items are gathered together in pink folder, with manuscript titles.  Provenance: from the office of the lawyer of Tristan Tzara.
In the last phase of his career/life, Dadaist Tristan Tzara was working on the other side of nonsense, labouring to prove that the medieval French poet François Villon had hidden hundreds, if not thousands, of significant anagrams within his writing. To prove his theory, which was to be published under the title Le secret de François Villon— Tzara developed proto-algorithmic decryption techniques, which would find ironic scrutiny in 1976, when Lynn Stults utilized a computer program named Vilgram to test Tzara's hypothesis, concluding that an existence of an excess of anagrams in Villon's works proved that they were simply beyond the scope of human intentionality. (She further displayed the illogic of being able to discover numerous anagrams for then-Secretary of State Henry Kissinger in Villon's sentences—although perhaps this was precisely the future secret that Tzara was after). Regardless: despite signing a contract with the French publisher Fasquelle in 1959—a copy of which is present here, along with receipt for his advance of 300,000 francs—and despite a number of newspaper reports from December of that year hyping the immanent release of Tzara's scholarly coup—the work was never published in Tzara's lifetime. Indeed, he is rumoured to have been working on the manuscript in the moments before his death. The reasons for the delay still remain murky in Dadaist scholarship; rendering the present dossier incredibly insightful, with Tzara's lawyers demanding that Fasquelle relinquish the rights to the work and return the materials to Tzara; materials that apparently included the diagrams that Tzara had illustrated to display his decoding device in operation. Le secret de François Villon would finally reach the public in 1991, with the release of Tzara's completed works, albeit without these fabled diagrams.
Ultimately: a remarkable dossier, providing insight into the final project of one of the pioneers of modernism.

CHOPIN, Henri;  BERTINI, Gianni
[An assemblage of works reconstructing the 1967 modernist landmark:
Festival de Fort Boyard]
Paris / Essex, 1967-1972.

5000 USD

This assemblage consists of: (1) two large serigraph broadsides (68 x 53 cm.); having been set in aluminum frames under archive-grade glass. The first, printed in red, announces a performance by Brion Gysin (Dream Machines) scheduled for June 3, 1967. The other poster, printed in dark teal on heavy pink paper, announces an abstract film performance by Kurt Kren for June 28, 1967 (framed with double panes to reveal both recto and verso). Both of the posters issue from the first printing, having been folded into self-envelopes and mailed to French art critic Pierre Descargues, with 1967 postmarks; the resulting creases now showing only faintly;
(2) a retrospective catalogue, published in Turin by Galleria il Punto  (1970). Stiff white wrappers (17 cm.), printed with blue titles. Minor foxing to cover. Contents: 15 leaves printed on glossy paper, including a 3 pp. retrospective essay from Chopin, in French, and colour reproductions of 7 of the serigraph posters, including the two described above. Being a trade edition of the monumental limited edition of 20 copies (in which the posters were reproduced at almost full size);
(3) Avec 3 figures: Beguier—Bertini—HC, a collage work from Chopin, marked as artist's proof. With title inscribed to verso, along with Chopin's signature and date (February 1972). Consisting of a masonite disc (23 cm. in diameter; 1.5 cm thick), with one side wrapped in stamped silver foil, to which is affixed a typescript poem from Chopin, along with images in red and black that retrieve imagery from the 1967 posters. Accompanied by a typescript mailing address (Whitehall Park, London) of Larry Wallrich, the London bookseller; and
(4) a copy of Extra art: a survey of artists' ephemera, 1960-1999, in which influential art historian Anne Moeglin-Delcroix refers to the Festival (pp. 14-16) in her essay "Art for the occasion" (with the French text and its English translation presented en face).
Occupying pride of place in the impressive exhibition catalogue Extra art: a survey of artists' ephemera, 1960-1969 (California College of the Arts)—albeit without images to illustrate it—Henri Chopin's Festival de Fort Boyard is now considered a watershed moment in the artistic appropriation of ephemera as form. As the celebrated art-historian Anne Moeglin-Delcroix declared in her contribution to that catalogue: "These announcement posters [of Chopin and Bertini] give the lie to the common sense, which expresses works for occasions [i.e. invitations] to be regulated by the principle of reality even more than other works."
In the Spring of 1967, a series of bold, colourful posters began to appear in the streets of Paris, especially in those surrounding the city's art galleries and museums. The posters announced an almost-impossible-to-imagine Summer art festival to be held on the remote island of Fort Boyard; an abandoned Napoleonic fortress built off the Atlantic coast, approximately a 5 hour drive west of Paris to Rochefort, from where speedboats were supposed to shuttle festival-goers hourly. To justify these challenging logistics, the posters boasted of incredible performances from some of the most vital members of the avant-garde: Serge Beguier, Julien Blaine, Ian Hamilton Finlay, John Furnival, Brion Gysin, Sylvester Houdédard, Kurt Kren, Mimmo Rotella, and Gil Wolman. So that: for the night of June 3—as announced by one of the remarkably-scarce posters preserved in this group—Gysin was scheduled to exhibit a massive installation of his celebrated octagonal dream machine; this one to measure 3 meters in diameter and to accommodate 18 simultaneous spectators. Of course, just like the Festival in toto, Gysin's installation was a work of pure imagination, existing solely within the encounter between its announcement and the pedestrian's reception; the street become Festival, the very surface of the galleries' walls transcended. The posters thus presaged the posters-to-come of 1968 (not to mention the street art of the late twentieth century), with their cries of All power to the imagination. (NB., with rather painful irony for believers in the promise of Kant's third critique, the Island has since been employed by a French production company as the setting for one of the most absurd of television game shows).
The Festival found its roots primarily in the imagination of Henri Chopin, most often associated with his sound and concrete poetry, but certainly no stranger to the world of conceptual art. In the retrospective Festival catalogue, Chopin continued to keep up appearances: writing to the reader from the year of 69,000,000,000,000—from where, in the driest of tones, he admired how the Festival remained, after all these centuries, as perfect as the day of its conception. "En somme, le Festival de Fort Boyard ne risqua pas l'échec. C'était l'oeuvre totale, l'oeuvre parfaite, l'enfant inoui, la beauté partout, la pureté absolue, la grandeur trouvée, la force incarnée, la contestation dite, la valeur indiscutée, l'esprit triomphant, la démesure de la mesure, la mesure désmurée, c'était en quelque mots, le chef-d'oeuvre, le vrai, celui qui naît après vingt siècles de tâtonnements."

For this catalogue, only 6 OCLC copies have been reported in North America. With the BnF being the only institution reporting holdings for any of the original posters; the two posters here only having survived because they had been mailed (in quasi-Fluxus fashion) to Parisian art critic Pierre Descargues.
The rich documentary value of this archive is secured with one further item: an artist's proof of a collage-edition from Chopin, in which he cryptically revisits the Idea of the Festival under the title Avec 3 figures: Beguier—Bertini—H[enri] C[hopin]. Now working from his new home in Essex, Chopin thus names two of his collaborators for the Festival, while re-appropriating their imagery from the posters; Beguier's nipples, and Bertini's mechanistic proto-Barbarella. This figure thus appears thrice in this group: on the Gysin poster, in the pages of the catalogue, and in a retrospective work of Chopin's, in which the latter's typewriter  typewritter poem  Chopin's
Ultimately: this museum-grade assemblage holds both incredible research and exhibition value.

END OF LOT 11   Contact for purchase inquiries.
LEARY, Timothy
[An address to the people of Canada].
Millbrook, NY / Ottawa, ON: Canadian Free Press, 1967.
250 USD

Folio (44 cm.), printed on newsprint, with horizontal fold. With minor edge-wear. Cover illustration providing psychedelic twist to the famous Flammarion engraving. Contents of 16 pages; similarly-illustrated in psychedelic style.
In February 1967, Timothy Leary was engaged to speak at a symposium on the psychedelic experience at the University of Toronto, along with fellow high priests Marshall McLuhan and Allen Ginsberg. Upon orders from the federal Cabinet, however, Leary was denied entry at the border, supposedly for his criminal record. A few days later, Leary tried to orchestrate the smuggling of a tape-recorded message across the Detroit-Windsor border, to be played at the symposium in his absence. This effort was also foiled. Eventually, an underground editorial collective in Ottawa got hold of yet another tape, and transcribed the text as the basis for the first issue of the Canadian Free Press (later to be renamed Octopus). Leary's text, accompanied by psychedelic illustrations, occupies a full 7 broadsheet pages. "Hello. This is Timothy Leary speaking from Milbrook, New York. I bring love and blessings to the people of Canada..."
END OF LOT 12   Contact for purchase inquiries.
COSTA, Claudio;  CAMINATI, Aurelio
Indagine su una cultura. Monteghirfo, 4 ottobre, 1975  [Investigation of a culture]
Monteghirfo (Liguria), Italy, 1975.   An unique artist's book.
5000 USD (New materials added; contact for full description).

Laminated green card-stock, fastened with two bolts as covers, with stenciled titles to front. Hand-stamps to recto and verso of rear cover identifies this work as "Museo Monteghirfo, A.C. - C.C." Contents across 14 leaves secured in laminated sleeves: 122 photographs (85 by 120 mm.), 14 of those in colour, with captions inscribed in black marker directly onto leaves. A few photographs appear to have been removed. NB: images below show some distortion, being photographed through the sleeves.
In 1975, the avant-garde artist Claudio Costa (1942-1995) co-founded, with Aurelio Caminati, the Museo di Antropologia Attiva di Monteghirfo, thus applying the methods of "active anthropology" that animated his work with Maori and Moroccan cultures to the peasant culture that still resided in the Ligurian countryside of his youth. The results of this project would not only nourish Costa's output for the next several years—culminating in his celebrated 1977 work at Documenta 6 (Antropologia riseppellita)—but it would also provide art historians with an embodied advance to Duchamp's institutional critique. Rather than transport everyday objects into the museum, in a bid to disrupt that institution's sacred aura with the profane, Costa and Caminati wagered instead that they could mobilize the museological aura for productive purposes; to transpose it onto quotidian objects in situ, in order to redeem their "anthropological statute." Costa would thus make good on one of the insights that earlier distinguished him from his Arte Povera colleagues: "Specialized science has restricted the space of things. All we need to do is give space to things to see what they were once like: the field will be a field and not land for property construction; the river will be a river and fire will burn once more, instead of becoming just a source of warmth and heat for the winter of man" (Evoluzione e involuzione, 1972).
As one of the first "actions" for their Museum of Active Anthropology, Costa and Caminati occupied an abandoned house in Monteghirfo (an hour outside of Genoa) and filled it with the everyday objects of the surrounding peasant culture; objects that were selected, catalogued, and framed, both for the benefit of the investigators and the local community, but also for the cameras. And so the present offering; much more than a photo album, this unique artist's book captures the Museo Monteghirfo as it existed on October 4, 1975, just a month after its founding. With over 40 black-and-white photographs, supported by a series of manuscript captions, the rooms and objects in the occupied house are here documented, some with their origins named (e.g. "il padre di Arturo"). Some of these images would ultimately reappear in Costa's subsequent sculptural work Indagine su una cultura: Monteghirfo — Natura naturata (1976-1977), in a series of nine assemblages. In addition, the present work includes six colour photographs of the regional form of ritual magic (captioned as "sperlengoevia"); images that would themselves reappear in the 1975 work Sperlengöeia (Il tempo magico nel rito); imaged above. Finally, October 4 appears to have concluded with a lecture and magical "action" performed by Costa on a hilltop setting, as he ritually engaged with a farmer, an animal, and a newborn, before being interrupted by three male nurses, the trio being tagged as "simbolo della violenza sulla mente."
Not being recorded in the 2000 retrospective catalogue published by Skira, the present work offers us a fascinating archive of the Museo, which is currently the subject of an exhibition at the Museo d'arte contemporeana, Villa Croce in Genova.
A definite milestone in avant-garde aesthetics.

END OF LOT 13   Contact for purchase inquiries.
HUPP, Otto
[A large group of issues of Hupp's Münchener kalender].
Munich: G. J. Manz, 1886-1935 (non-consecutive).
500 USD

37 issues from this series of calendars, for the years 1886-1888, 1895-1897, 1899-1902, 1904-1906, 1908-1910, 1912-1917, 1919-1926, and 1928-1935. No issue was published for the year 1933. Issues generally preserved in remarkable condition (especially 1901 and after); with the exception being issues for 1895, 1896, and 1900 with their bindings loose. Almost all items retaining their place-holder ribbons.
Although he also worked as a typographer, designing the typeface Neudeutsch in 1899, Otto Hupp is perhaps best known for his enthusiastic work with heraldry, most fully on display in his Münchener kalender project, published for fifty consecutive years (1885–1935), with the exclusion being the tumultuous year of 1933. While the illustrations that accompanied each month's calendar were originally drawn from the Zodiac (with three examples of such in this group), Hupp would, after 1895, illustrate each month with the coat of arms from noble families of the region, with a brief description of the family's history provided in an index at the rear of the annuals.
The years included in the present group stretch across an incredible period of German history, affording a fascinating perspective, as Hupp's decidedly medieval iconography is subject to subtle shifts. Most starkly, with the final issue (imaged above), the words Heil Hitler appear branded on the eagle's arms.
END OF LOT 14   Contact for purchase inquiries.
[Three bookplates designed for Gino Sabattini].

[Northern Italy], circa 1914-1945.
Three unused bookplates, printed on similar glossy paper, being: (1) a Secession-inspired neo-Classical scene, unsigned; image, 100 x 44 mm. on sheet of 129 x 65 mm.; (2) a hunting scene, under motto "De arte venatoria," with image of 100 x 75 mm.; sheet of 110 x 85 mm.; and (3) a WWII-inspired scene, signed "GB" and dated 1939, thrust under the motto "Vis unita fortior," with image of 100 x 75 mm., on sheet of 134 x 104 mm. Fine.
The Digital Exlibris Museum records an impressive diversity of bookplates commissioned by the obscure Italian figure of Gino Sabattini, who appears to have written a pioneering bibliography on chiromancy (Bologna, 1946). Of the three thematically diverse works here (none of them recorded by the Museum), the one dated 1939 is particularly chilling, as it unites Nazi and Fascist forces under the sign of Strength.
END OF LOT 15   Contact for purchase inquiries.
[A group of 4 bookplates designed for female collectors].
[Europe], circa 1900-1930.
150 USD

Being: (1) For Carmen Gras Domenech, on cream paper, signed by artist in plate (94 x 158 mm.); (2) on thin green paper, for Tullia Zaccheo, unsigned (55 x 88 mm.); (3) for Dr. Elisabetha Toth, on blue paper, signed by Gyorgy (156 x 76 mm.); and (4) for Marie Thérese Burgat, on thin paper, stamped by Gambini on verso (92 x 60 mm.).
END OF LOT 16   Contact for purchase inquiries.
FLORIS, Marcel-Evelyn
Histoire de Sabou-chien au pays des fées.
[Paris?]: Les Producteurs Français de Dessins Animés, circa 1945.

A remarkably well-preserved movable measuring 105 x 75 mm. (25 mm. deep), with illustrated paper roll animated by two wooden spools, visible behind plastic screen. Contents: title card, followed by 14 scenes, 13 of them with accompanying text.
A fascinating cinematic specimen of the movable children's genre. Despite its obvious charms, the format—branded as "Filmanim" and sponsored by Les Producteurs Français de Dessins Animés—does not appear to have been a success; save for one auction record, we have been unable to discover any further references. Marcel-Evelyne Floris is otherwise recorded as the creator of the animated film Querelles de coeurs (1947).
BÈLVES, Pierre
Découpages [Complete series of 4].  
Paris: Flammarion / Printed by Gaston Maillet et Cie., 1948.
350 USD
Illustrated wrappers (21 x 21 cm.), printed in colour. With some minor wear to wrappers. The first three volumes with [20] pages, with first page bearing an explanatory introduction, and the remaining pages featuring simple everyday objects to copy, printed in vivid colours. The fourth volume varies slightly: with title page, followed by two pages of instruction, and [16] pages of symmetrical designs, concluding with a series title.
"Ceci n'est pas seulement un album d'images. C'est une série de modèles pour composer des petits tableaux en papier découpé." Pierre Bèlves worked for the publisher Flammarion, illustrating a good number of the famous series Les albums du Père Castor. In this Découpages series he continued the long tradition of scissor-cutting works for children, encouraging the development of their mimetic faculties.

END OF LOT 18   Contact for purchase inquiries.
SOMMER, Robert;  TART, Judy
Blacks & whites: the role identify & neighborhood action game.  
Del Mar, CA: Communications / Research / Machines Inc., 1970.
Board game, housed in illustrated cardboard box (30 x 22 cm.), with some wear to one side panel. With folding playing board (44 x 44 cm.), accompanied by 9 player tokens (five of them white, four black; one apparently missing), 22 deeds corresponding to real estate spaces on board, 32 opportunity cards (18 whites and 14 blacks), a stack of cash (in various denominations), and instruction pamphlet / manifesto (bifolium).
A provocative Monopoly-style board game, first developed by a team surrounding Robert Sommer, Chair of the Psychology Department at University of California, Davis. The goal was to provide an opportunity for racial empathy; the original rules of the game made it impossible for a black player to win. The game was eventually marketed by the publishers of Psychology today with slightly revised rules, following feedback from activists, providing a handful of opportunities for black players to game the system.
Drug attack: springboard to family communications. An informative game about drug abuse
Anaheim, CA: Dynamic Design Industries / Technicon Medical Information Systems Corp., 1971.
Board game, housed in illustrated cardboard box (30 x 22 cm.), with image of game to bottom panel; some foxing. Folding playing board (44 x 44 cm.), accompanied by 12 player tokens (blue and red, with stickers), still in original plastic bags; 52 Chance cards; 28 Health Officer cards; 28 Agent cards, and a stack of $1000 bills. Accompanied by instruction sheet (bifolium), with loose 2 pp. chart (Summary of drug facts), and a folding chart of drug types and effects.
A game for 3-5 school-aged players, to be played as Mayor, Health Officer, or Agent; pushers and users are automated. Produced with the same empathic design (and product packaging) as Blacks & whites, framing drug abuse as a social, rather than criminal problem. The Mayor's drug information card is especially detailed, with an illustrated taxonomy of types of readily-available drugs, along with penalties and offenses.
JELLIFFE, Dr. Smith Ely
[A presentation group of 7 early offprints, signed].
Various publishers, 1907-1910.

As introduced by a signed note, inscribed on letterhead from The journal of nervous and mental disease, this group of signed presentation copies comprises:
(1) The signs of pre-dementia praecox: their significance and pedagogic prophylaxis, from The American journal of the medical sciences (August, 1907), 26 pages, with advertisement to rear wrapper;
(2) A contribution to the history of Huntington's chorea.—A preliminary report, from Neurographs (May 25, 1908), 8 pages;
(3) Manic depressive insanity: a clinical lecture, from The Medical Index-Lancet (April 1908), 28 pages;
(4) The alcoholic psychoses. Chronic alcoholic delirium (Korsakoff's psychosis), from The New York medical journal (October 24, 1908), 32 pages;
(5) Notes on the history of psychiatry, from The alienist and neurologist (February, 1910), 10 pages;
(6) The thalamic syndrome, from Medical record (Feb. 19, 1910), 23, [1] pages; and
(7) Dementia praecox, from The New York medical journal (March 12, 1910), 38 pages.
Eventually to become the author of over 400 articles, not to mention one of the first collectors of neurological, psychiatric, and psychoanalytic works—with his collection of offprints measured in tons—Dr. Smith Ely Jelliffe (1866-1945) was here still at the beginning of his career when, as Managing Editor of the Journal of nervous and mental disease, he gifted his colleague Clarence B. Farrar with this group of signed offprints of his early essays; to "inflict you with an avalanche of chaff."
FARRAR, Clarence B.;  PARSONS, Sara E.
[An archive of unpublished lectures from Farrar's course on psychiatric nursing at the Sheppard and Enoch Pratt Hospital, along with later manuscript notes on the subject, accompanied by a presentation copy of a work on nursing from Farrar's former colleague Sara E. Parsons], 1909-1929.
1200 USD

Twelve typescript lectures, averaging 10 pages each; comprising 130 total pages. Introduced by collective title page ("Tuesday talks for juniors"), dated "October 1909–." Each lecture distinctly foliated and fastened with contemporary paper clips, with minor offsetting. With a handful of annotations to text, both manuscript and typescript. The lectures are accompanied by a presentation copy of Nursing problems and obligations, by Sara E. Parsons. Boston: Whitcomb & Barrows, 1916. Purple cloth boards, with gilt lettering to front panel and spine. Contents: xi, [5], 149, [1] pages. With Farrar's bookplate affixed to front endpaper and warm presentation inscription from Parsons to front pastedown. Also accompanied by a group of manuscript notes from Farrar (6 pp.), apparently prepared for a conference presentation, inscribed (rectos only) on memorandum paper from Washington's Willard hotel, ca. 1929.
"To be a good nurse is first of all to be a good woman." Before becoming the long-time editor of the American journal of psychiatry, Clarence B. Farrar accepted a position in 1904 as Assistant Physician and Director of Laboratories at the Sheppard and Enoch Pratt Hospital in Baltimore, where he was also an Associate Professor in Psychiatry at Johns Hopkins. He was just returning from two years in Heidelberg, where he studied with Emil Kraepelin, Franz Nissl, and Alois Alzheimer. A year after his arrival in Baltimore, the Sheppard-Pratt would become one of the first institutions to develop a programme in psychiatric nursing; a subject that would occupy Farrar—especially in its moral dimension—for decades. For the inaugural two-year curriculum of the Sheppard-Pratt programme, Farrar is listed as delivering a lecture to the junior class entitled “Observations of symptoms” and a senior lecture on Psychology. No syllabi for these courses appear to have survived. Here, however, with the present set of general lectures for 1909 and 1910—entitled "Tuesday talks for juniors"—we find Farrar emphasizing the ultimate significance of the nurse's role within the psychiatric institution: “In many cases, it is chiefly the nurse who has been instrumental in doing good, rather than the doctor; the nurse is constantly by the patient’s side and the one towards whom the patient is most likely to turn, so that the nurse, then, is very often chiefly responsible for the patient’s recovery.” These pioneering (and unpublished) lectures include references to psychiatric history and theory, patient management strategies, case studies, "family skeletons," and a handful of references to compassionate euthanasia. The first two lectures appear to be orphaned from the full 1909 set of lectures, while the remaining ten lectures comprise a complete course of lectures from the following year; given the overlap between these two sets, it's interesting to note that Farrar obviously reshaped his materials between the two years.
These lectures are accompanied by a presentation copy of Nursing problems and obligations (1916) by Sara E. Parsons, who was then-Superintendent of the Training School for Nurses at Massachusetts General Hospital. Arriving in Baltimore at the same time as Farrar, Parsons had been hired by Dr. Edward Brush as the organizer for the nursing programme. According to Farrar’s reminiscences: “[Brush] secured the best nurse available in the country to start this school.” Parsons, it would seem, held Farrar in similar esteem. In her presentation inscription to this copy, she writes: “I waited as long as I could for your book on Ethics and finally did the best I could myself. Your ethics have influenced mine to such a degree that you ought to be interested in my book. Yours faithfully, Sara E.”
This small archive is completed by a set of notes written by Farrar on memo paper from The Willard, hotel in Washington, in preparation for a talk to be given on the theme of psychiatric nursing, circa 1929. "There can be no smallest doubt that even today, despite the wholesale advertising of the mental sciences within these latter years, psychiatric training is relatively understressed in medical and nursing curricula and for the most part woefully inadequate... We need more psychiatric nurses. Not merely women who have been through mental hospital courses and passed their examinations; but women with gifts and insight, perfected by training and experience, who are thus qualified to take responsible charge of patients."
END OF LOT 22   Contact for purchase inquiries.
[Trench diary of a chemical weapons soldier from the Royal Engineers Chemical Section].
Western Front, 1915-1917.
Leather-bound Walker's Memorandum Book (13 cm.), with "Swan" ink tablet still preserved in sleeve at spine. Manuscript contents comprise 50 unnumbered leaves, almost entirely composed of dated diary entries (rectos only), with a number of lists appearing on the final leaves (addresses, payments received, personal budgets). Preserved within inner sleeve at rear panel: (1) five wartime currency notes (issued from d'Amiens, Bethune, Havre, St-Omer, and Tréport), (2) a reinforced clipping of a poem by Harold Begbie ("Fall in!"), and (3) a gelatin silver print (6 x 11 cm.), presumably depicting the diarist, in uniform, on a dispatch motorcycle.
A remarkable diary documenting the realities of the first generation of chemical warfare soldiers in the British Army. Rushed into being after Germany's success with chemical weapons in the Spring of 1915, the Chemical Section of the Royal Engineers formed Special Companies of technically-skilled men at their Depot at Helfaut, just south of Saint-Omer in the Pas-de-Calais region. Without naming himself directly—save for introducing the diary with a list of Corporals (Jackson and Diment) and Privates for "Team B"—the diarist makes his first proper entry upon being transferred from the Machine Gun Section to the Chemical Section in September 1915, only a few weeks before the first British mobilization of chemical weapons during the Battle of Loos. Following his month-long training at Helfaut, the diarist is attached to the 15th section of the 187th Company, first entering the trenches on December 17, where—for the next year and a half—he would manage the supply, disposal, and potential bombardment of gas shells. The diary ends suddenly on April 15, 1917, after a series of hurried entries referring to the diarist's work with the advancing artillery in the Somme Offensive.
"Dec 17th, '15.  Went into trenches in charge of infantry to [supply chemical] cylinders. Were sent out with leather jerkins + top boots... Infantry party met us and carried cylinders to trolley track along which the cylinders [traveled until finally] carried 300 yards or so into the firing trench. Communication trench supports were full of water, so had to go across the open, right up to the firing trench. A moonlit night but a little misty. A motor machine gun was busy but, beyond a little rifle fire, there was very little firing going on. All came back in safety. The road from dump to trench was awful mud and water; knee-deep in places, a distance of a mile and half which seemed 10 times the distance. Several went headlong in the mud and sludge. Poor infantry. We got back to the dump at last where the motor lorry was waiting to bring us back to billet. The cook soon got us some tea and we got out of our wet and muddy clothes to bed about 5 o'clock next morning. Had a nightmare that we had been fetched out of bed to dig latrines for a whole battalion of infantry. However, it was not so + was allowed to sleep until dinner time."
"July 29 [1916]. Diary, the last few days wholly inadequate to describe the last terrible week in the trenches. Night after night standing wet-through in deserted trenches at highest pitch of excitement, waiting for the 'moment.' Just when we wanted the wind it seemed to fail us. However all is over and we begin to count our losses... Hear that D Company has over 170 casualties. But the Germans have suffered terribly."

[Small archive from the Federal Prohibition Director for New York State].
New York (mostly Kingston and Albany), 1913-1929.
500 USD

A small archive containing significant Prohibition-era materials, including: (1) an ACCO-fastened series of typescript reports (1926-1927), mostly either written to-or-by Federal Prohibition Administrator Chester B. Mills, being 54 sequentially-numbered pages on the Federal Prohibition activities and challenges in the 2nd Federal District;
(2) a cloth-bound scrapbook album (30 cm.) relating to Canfield's role as Prohibition Administrator in the Albany District from 1929, with dozens of newspaper clippings affixed to 13 leaves, both recto and verso;
(3) a spiteful letter sent to Canfield, as "Big Pone Dry Man" (Feb 1929), signed-off by the "Repealers of Prohibition;"
(4) the front page of the Albany Times-Union (for Sunday, January 6, 1929), with the headline: "Canfield plans survey for new drive on rum... New Dry Chief maps big drive from Albany;" and
(5) multiple copies of Canfield's CV (circa 1924).
Other materials in this archive relate to: Canfield's various mayoral campaigns for Kingston, NY, including the [4] pp. pamphlet entitled Canfield's letter to The freeman, which it refused to publish (1913)—and various items of ephemera relating to his professional and social activities (e.g. the Ulster Country Society, the Knights of Pythias).

Well-documented by this small archive: Palmer Canfield's passion for a straight-laced, moral brand of politics, broadly understood to include the full government regulation of human intoxication. On his accompanying CV, Canfield brags about enforcing Prohibition before it was a federal mandate, reducing the number of saloons in Kingston, NY from 125 to 50 during his four-term stint as Mayor (1913–1921). Next up: work as a Special Assistant U.S. Attorney in charge of Prohibition cases for the Southern District of New York, before becoming the Federal Prohibition Director for the State of New York in 1923; "appointed without any special political backing."

The majority of this archive documents Canfield's final Prohibition post in 1929, as the Dry Chief of the notoriously-wet Albany District. As the multitude of newspaper clippings here detail, Canfield started the year off with a bang, announcing crackdowns on speakeasies and the activation of a team of secret police who were committed to busting the conspiracies of large bootleggers. Evidently, Mr. Canfield appears to have been aware that not everyone appreciated his efforts. Of the many received letters in this archive, none is less sweet than the one sent from the "Repealers of Prohibition" on February 13 and entitled: "A valentine for the Dry Force and their Commissioner, Old Mother Hubbard, who is such a dry old maid his bones rattle."

More than just documenting Canfield's performance, this archive contains a significant collection of internal Federal Prohibition reports (54 pages, c. 1927), which are mostly written to-or-by then-Federal Prohibition Administrator Chester B. Mills; being rich in details of the activities and challenges of the 2nd Fed. District, with much talk of corruption and the diversion of sacramental wine.
END OF LOT 24   Contact for purchase inquiries.

WILQUIN, André (1899-2000)
Jeune gens, jeunes filles, devenez secouristes de la Croix-Rouge française.  
[Paris], circa 1930.

Original illustration art;
pencil and goache on thick paper (38 x 25 cm.), with additional text in pencil to lower portion: "Sachez donner les premiers soins en cas d'urgence. 10 cours et exercices pratiques sanctionnés par un certificat." Minor surface wear, with faint creases from double fold. With Wilquin's idiosyncratic signature in pencil to top right corner.
Issuing from the estate of André Wilquin, a well-known French ad designer, who was granted a retrospective exhibition at Paris' Bibliothèque Forney in 1991. It's unclear whether this supple design was ever realized for the French Red Cross; this lush maquette would have been accomplished at an early stage of his long career.
END OF LOT 25   Contact for purchase inquiries.
WINTER, D[uncan] K[enner]
[A New Year's greeting card, accompanied by three photographs of his anatomical work].  
New York, January 1st, 1943.

Bifolium manuscript letter, dated Jan. 1, 1943, accompanied by 3 vintage photographs (16 x 12 cm.) capturing original drawings by D. K. Winter of brain (below) and skulls (x2). Manuscript annotation to verso of one photograph identifies date of 1942, at New York Medical College. With original envelope addressed to Rev. and Mrs. J. A. Samuelsons of Wilmington, Mass.
Acclaimed medical illustrator D. K. Winter (1903-1980) joined the Scientific Illustration Division of the Armed Forces Institute of Pathology in 1948, where he would accomplish such highspots as Human brain—Abraham Lincoln, schematic of path of bullet (1953) and Assassination of Garfield: path of bullet (1956). He would eventually retire as Chief Medical Illustrator in 1968. Here, we find him sending-off a somewhat unorthodox New Year's greeting card, where, in addition to normal pleasantries, he reports of his illustration work for Dr. Conrad E. Tharaldsen, then Director of the Department of Anatomy at New York Medical College, who was preparing an atlas of human anatomy (to be published by Blakiston of Philadelphia). After mentioning his advance pay of the royalties, Winter laments: "Working day and night, it'll take me a good five years yet." The work, however, was ultimately never published. The finding aid for Winter's papers at the Otis Historical Archives only begins with the date 1952, rendering these photographic reproductions potentially the only extant records of his early (and quite surrealistic) illustrative work.
[Two ephemeral works relating to Arcosanti].   New York, 1970.

Being: (1) The architectural vision of Paolo Soleri: Whitney Museum of American Art, July 17 through September 20, 1970; a xeroxed exhibition catalogue, with illustrated title page stapled to [8] pages of un-credited text. And: (2) an untitled 1970 prospectus for Arcosanti, with 5 stapled pages of Xeroxed text, concluding with a blank application form.
In 1970, the Whitney organized an exhibition of Paolo Soleri's architectural practice: "With the Arcologies, Soleri makes a clear break with the past and moves fully into a new concept... The concept is Arcology, a word combining architecture and ecology: architecture—the environment constructed by man; ecology—the general study of the relations of all living organisms to their environment and to each other." The catalogue is accompanied here by a 1970 prospectus that summarizes the history, plans, and logistics of Arcosanti, including explanations of the "co-user" land-share structure, the workshop system, and the contours of the local sharing economy, which was designed "to reduce idleness of objects, tools, appliances, and instruments to a minimum." The prospectus concludes with a detachable form for those interested in applying for the 1971 workshops (characterized as "Arcosanti III"). It's quite possible that this application form was made available at the Whitney exhibition, inasmuch as the catalogue encourages visitors to direct further inquiries to the information desk.  With 2 OCLC records discovered for the Whitney catalogue; none for the prospectus.
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